A dramatic pop music comeback story is underway: Celine Dion is performing again.

In 2022, Dion, the renowned Canadian singer, announced that she had stiff person syndrome, a rare and incurable neurological disorder that causes painful muscle spasms and affects roughly one in a million people. The announcement came as a shock to her fans, and in a raw and revealing documentary released in 2024, “I Am: Celine Dion," she shared her struggle to overcome her condition, and sing again. But Dion worked her way back to performing, and is now appearing in a run of sold out shows in Paris.

The culture reporter Elisabeth Vincentelli was there on opening night, and in this episode of “The Sunday Daily,” she talks with our host Natalie Kitroeff about the remarkable comeback of Celine Dion.

On Today’s Episode:

• Elisabeth Vincentelli, an arts, culture, and theater journalist.

Background Reading:

• Celine Dion Is Back Onstage. Naturally, She Chose Paris.
• Paris Really, Really Loves Celine Dion

Photo credit: Clementine Schneidermann for The New York Times.

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

As the head of the International Committee of the Red Cross, Mirjana Spoljaric goes to both sides of conflicts. She’s worried that our warring world is spiraling out of control.

• Thoughts? Email us at [email protected]
• Watch our show on YouTube: youtube.com/@TheInterviewPodcast
• For transcripts and more, visit: nytimes.com/theinterview

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

For weeks, thousands of high school students in France have been out in the streets protesting the conditions of public schools. They want better funding, something that won’t be easy with the current state of French finances.

Mark Landler, the Paris bureau chief, explains why after years of overspending, France is in crisis, and is driving toward a fiscal cliff.

Guest: Mark Landler, the Paris bureau chief of The New York Times.

Background reading: 

• France’s debt problem is a warning to the world.
• Understand the country’s polycrisis.
• For the resurgent far left, the protests are an opening and a threat.

Photo: Miguel Medina/Agence France-Presse — Getty Images

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Christa Pike survived two doses of a lethal injection drug last week during a botched execution in Tennessee.

Pamela Colloff, who writes for The New York Times Magazine, discusses the waning public support for the death penalty and why despite it some states are doubling down.

Guest: Pamela Colloff, a reporter at ProPublica and a staff writer at The New York Times Magazine.

Background reading: 

• Pamela Colloff, a reporter at ProPublica and a staff writer at The New York Times Magazine.

Photo: George Walker IV/Associated Press

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What exactly happened near an air base in Britain used by the United States?

Eric Schmitt, a national security correspondent for The New York Times, discusses what he’s learned about the mysterious events around the base, including the abrupt withdrawal of U.S. Air Force bombers.

Guest: Eric Schmitt, a national security correspondent for The New York Times.

Background reading: 

• A mysterious call near a military base used by the United States set in motion a huge counterterrorism response and days of uncertainty in Britain.
• The United States withdrew 12 bombers from the base after information emerged about a potential Iranian drone attack, U.S. and British officials said.

Photo: Getty Images

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

If you dine out regularly, you might have noticed some changes in restaurants over the past few years. Perhaps you’ve found yourself ordering at a counter, scanning a QR code to see the menu, or eating … a lot more soft serve.

These changes aren’t just trends. Brett Anderson, a New York Times food reporter, says they are restaurant owners’ desperate attempts to stay afloat in an industry in crisis. According to a report from the National Restaurant Association, 42 percent of restaurant owners said they weren’t profitable in 2025. Many of them were at serious risk of closing.

In this episode of “The Sunday Daily,” Brett talks with our host Michael Barbaro about the economic realities that are forcing businesses to rethink the entire concept of a restaurant, including a radical experiment at one Minneapolis diner that stopped charging for food entirely.

On Today’s Episode:

• Brett Anderson, a reporter for the Food section of The New York Times.

Background Reading:

• This Restaurant Stopped Charging for Food. And Profits Are Up.

• The Restaurant List 2026

  Photo credit: Caroline Yang for The New York Times. 

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The comedian and filmmaker on what real friendship looks like, what keeps him up at night and his new movie, "Misty Green."

• Thoughts? Email us at [email protected]
• Watch our show on YouTube: youtube.com/@TheInterviewPodcast
• For transcripts and more, visit: nytimes.com/theinterview

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The turn of the century was the beginning of a new era in television: prestige TV for the masses. Today, television is where big stars and innovative creators go to marshal sizable budgets and tell meaningful stories.

Over recent months, our colleagues at The New York Times ran a survey, asking industry insiders — on-screen talent, writers, directors, producers, executives and others — to pick their top 10 television series of the last 26 years. We compiled their responses into a list, published this week, of the best TV of the 21st century.

In this episode of “The Sunday Daily,” The Times’s canon editor, Gilbert Cruz, and our chief TV critic, James Poniewozik, talk with our host Natalie Kitroeff about what made the list, and what didn’t.

On Today’s Episode

James Poniewozik is The New York Times’s chief TV critic.

Gilbert Cruz is the canon editor at The New York Times.

Background Reading

• The 100 Best TV Shows of the 21st Century
• The 100 Best TV Shows of the 21st Century: Cast Your Vote
• The 100 Best TV Shows of the 21st Century: How Stars, Creators and Other TV Lovers Voted

Photo: The New York Times

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

For the first time in centuries, the Bayeux Tapestry — a nearly 1,000-year-old piece of embroidery that depicts the invasion of England by William the Conqueror in 1066 — is on display in Britain.

It was long said by art experts to be too fragile to move. But in a development that required geopolitical persuasion, this summer the tapestry made its way from Bayeux, France, to the British Museum in London.

When the first block of tickets went on sale, the British Museum said, over 80,000 people at a time waited online to buy them.

In this episode of the “Sunday Daily,” Alex Marshall, a culture reporter for The New York Times, talks with host Michael Barbaro about why this ancient piece of embroidery matters so much to the British public.

On Today’s Episode:

Alex Marshall is a European culture reporter for The New York Times, based in London.

Background Reading:

• How to See a Bayeux Tapestry — Without Going to the British Museum
• A Nation Gripped by ‘Bayeux Fever’ Finally Gets to See the Tapestry

Photo credit: Kin Cheung for Associated Press.

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When it comes to movies we love, there are the artistic masterpieces and there are the foot-stomping crowd pleasers. But there’s another particular kind of beloved movie, the one that makes our friends groan, but that we rewatch incessantly; the one that we can quote line for line, even as we giggle at the actors’ performances; the one that we’d say is great, but that we might not say is good. These are the kinds of movies that Maya Salam, a pop culture writer at The New York Times, covers in her monthly column, The Good-Bad.

This episode is a celebration of good-bad movies, timed to the release of “Practical Magic 2,” the long-awaited sequel to the 1998 cult film that Salam called “a bubbling cauldron of plot holes and tones.” Our host Rachel Abrams talks to Salam about the joys of loving a movie despite (or because of) its flaws. Then, they’re joined by The Times’s canon editor, Gilbert Cruz, and Taffy Brodesser-Akner, a Times Magazine writer, to discuss the best of good-bad cinema.

On Today’s Episode:

Maya Salam covers pop culture for The New York Times.

Gilbert Cruz is the canon editor for The New York Times.

Taffy Brodesser-Akner is a features reporter for The New York Times Magazine.

Background Reading:

• The Good-Bad
• Why Loving Good-Bad Movies Feels All Good

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week marks the start of the Gustavo Dudamel era in New York.

The superstar conductor was just 28 when he became the musical director of the Los Angeles Philharmonic in 2009. A native of Venezuela and a product of its El Sistema musical training program, Dudamel quickly established himself not just as a great conductor, but also as a cultural force of nature. In his time in Los Angeles, he expanded the Philharmonic’s repertoire, created a successful youth outreach program, won prestigious awards and ingratiated himself with Hollywood elite.

Now, after 17 years in Los Angeles, Dudamel is taking the helm at one of the world’s most famous and storied orchestras: the New York Philharmonic. It’s a job once held by Leonard Bernstein, and Dudamel is hoping to follow in Bernstein’s footsteps to make the Philharmonic and the music that it plays a bigger part of the pop culture landscape.

On today’s episode, Joshua Barone, who covers classical music for The Times, discusses Dudamel, what he’s accomplished and the high hopes for his tenure with the New York Philharmonic.

Music Featured (in order of appearance, all conducted by Gustavo Dudamel):

• Johann Strauss, Tik-Tak Polka, Polka Schnell, Op. 365, Weiner Philharmoniker (Sony Music Entertainment)
• Dmitri Shostakovich, Festive Overture, Op. 96, Simón Bolívar Youth Orchestra (Deutsche Grammophon)
• Gustav Mahler, Symphony No. 5 in C-Sharp Minor IV. Adagietto, Berlin Philharmonic (Berlin Philharmonic Recordings)
• Antonin Dvorak, Symphony No. 8 in G Major, Op. 88, B. 163, III. Allegretto grazioso- Molto vivace, Los Angeles Philharmonic (Deutsche Grammophon)
• John Williams, “The Imperial March” (From “Star Wars: Episode V — The Empire Strikes Back”), Los Angeles Philharmonic (UMG Recordings, Inc)
• John Adams, “En un Día de Amor Yo Bajé Hasta la Tierra,” The Gospel According to the Other Mary, Los Angeles Master Chorale and Los Angeles Philharmonic (Deutsche Grammophon)
• Gabriela Ortiz, “Kauyumari,” Los Angeles Philharmonic (Platoon)
• Ludwig Beethoven, Symphony No. 7 in A Major, Op. 92, IV. Allegro con brio, Simón Bolívar Youth Orchestra (Deutsche Grammophon)
• Thomas Adès, “XII. The Thieves — devoured by reptiles,” Dante, Los Angeles Master Chorale and Los Angeles Philharmonic (Nonesuch Records)
• Ludwig Beethoven, Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio, Simón Bolívar Youth Orchestra (Deutsche Grammophon)
• Ludwig Beethoven, Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio, Simón Bolívar Symphony Orchestra (self-released)
• Leonard Bernstein, “End Credits” and “The Dance at the Gym: Mambo,” from “West Side Story” (Original Motion Picture Soundtrack), Los Angeles Philharmonic and New York Philharmonic (Hollywood Records)

On Today’s Episode:

Joshua Barone is an editor for the Culture section of The New York Times who works on classical music and dance coverage. He also writes criticism about classical music and opera.

Background Reading:

• Gustavo Dudamel’s Long Goodbye to L.A., and Long Hello to New York

• What Makes Superstar Conductor Gustavo Dudamel So Good?

  Photo Credit: James Estrin/ The New York Times

For more information on today’s episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.